'Dust & Liquid' / Hybrid Man [Review]
“Dust and Liquid” is Hybrid Man’s third extended release. Recorded in the summer of 21/22 and yet it still feels right on time.Coming off the back of two highly acclaimed releases by those in-step with the so-called Australian underground Julien Huynh and Will Holden return with their most robust body of work to date.
A stunning 4 track EP that pays homage to the viscerally transcendent link that exists between early 90s psychedelia and it’s omnipresence in so-called Australia’s leftfield dance persuasion of recent years. A celebration of time and place as well as an evident showcase of sound development and musicality from the two Naarm based producers. I had the pleasure of asking the duo a few questions to better understand how such a magnificent sonic offering came to be and some of the places it’s taken them.
What were some other seminal moments between ‘Shapeshifting’ and this record?
W+J: There was the lockdown so we weren’t creating a lot of music together during this period but instead listening to heaps of music again - especially non-club/dance orientated music. We found ourselves diving into rabbit holes of old compilations and back catalogues, sharing ‘chill-out’ and after hours music with each other. Artists like Aural Float, Index ID, William Orbit; and series’ such as Space Night and SBS Chill radio. When we started writing ‘Dust & Liquid’, clubs were mostly closed so we weren’t playing many live shows but instead spent weekends outside bushwalking or camping. Being able to be outdoors and camping after lockdown had an impact and we appreciated those moments when we were able to finally get into the studio together again.
This forced state of deceleration is evident from the outset on A1 Eternal Nightglow. A gentle offering that sits somewhere in the penumbra of the bush and the deep cosmos. Bongo’s dissemination across the vast spectrum of lush pads before the track almost accidentally lugs into a downtempo break.
Past records of yours have come as a result of developing live shows, testing them out in clubs and festival landscapes. Did this mean you had to come up with a different workflow?
This record followed a different pattern of writing compared to previous ones, formed solely through recording ideas and playing around in the studio. The tracks still retain some of the creative processes that we would normally use to create the live sets, however they were transferred straight into a recording and compositional format. We found this approach exciting to explore. The music didn't require the typical dance floor elements of our live sets, we felt more freedom to explore ambient sounds and work with different kinds of instrumentation.
Talking of instrumentation, how about the gear you used, anything new or different?
W+J: I'm not sure that we acquired new instruments specific to this record that we didn't already have for Shapeshifting, although we picked up the bass guitar and electric guitar a lot more. We delved into working with samples and loops for some of the drums and percussion for a played drum kit aesthetic. One synthesiser we heavily used on this record is the Roland JV1080. I think in the future we’ll end up going back to these instruments and following a similar process, incorporating played instrumentation and samples in combination with programming and synthesisers.
The record is their first release on revered local party peddlers turned record label Wax’o Paradiso. After hearing the record it’s hard not to be overcome with a sense of local pride or nostalgia in the culmination of sound and community. A contemporary marriage that celebrates the ubiquitously recognisable progressive, psychedelic sounds of the “Ozzie Bush” whilst still managing to carve out it’s own space amongst the crowd, solidifying just how intrinsic this sound is to the current state of electronic music in this country
W+J: The Wax’o guys have always been really supportive so it felt like a natural progression when they hit us up to create something for the label. At the time they approached us, OK EG were working on the initial record for the label so the concept of the project was still formative. We knew they were after a mix of organic and electronic psychedelic sounds that were also distinctly “Australian” and something with a slower BPM. After taking a break from live sets, we ended up with a demo version of Sunwave, and thought about the possibility of creating a few versions/remixes that might work for the Wax’o release. However, Simon and Edd both encouraged us to keep going with our studio process and continue writing more tracks to flesh out 4 tracks for the record.
Sunwave earthy trance gated pads drive the track over a warm undulating step ladder sub that sits humbly back in the mix. Championed by sparkling chords and a breakdown of enchanting oscillated arpeggio’s that take the track for a lap around the sun before it touches back down in the outback to round out the A side.
B1 Bluegums is a deep frequency dive as synthy didg-like bass warbles ping-pong off the warmest of subs. Smattering percussion teeters on the edge of organic insanity inviting the listener to let go of any perceived control. Echoed piano riffs pulse over the peak of the track before letting the break carry it home.
What was it like playing / touring with Bobby from Higher Intelligence Agency on multiple occasions earlier this year? Any moments, wisdoms or inspirations to share?
W+J: We were very fortunate to perform a few times with HIA. His productions are always an inspiration but it was fascinating seeing him perform live and see how his current live setup has adapted from hardware-based studio productions. We were also lucky enough to spend a week with Bobby and his partner Scylla at their home in Birmingham in September and were warmly welcomed by all their family and friends. It was an incredible experience to spend time with them and hear about all their stories from back in the day but also see how they are both continually pushing themselves creatively to this day. It was an honour to be invited to play at an Oscillate party whilst there, and meet some of the original ravers from the 90’s plus some of the next generation “Oscillators”.
Final track Swept By The Undertow is an adventure in dubwise sentiments that wouldn’t be out of place in a HIA set. A deep chugger that demands little, encompassing all the same methods and sonic palette’s of the EP but this time as a gentle reminder to be kind to your body and mind as you hit your sleeping bag with the birds chirping in the soft morning sunlight.
What adventures either musical or otherwise have you been up to since then? Anything exciting on the horizon?
W+J: We’ve just come back from our first mini-tour around Europe and the UK which was really exciting. We got to meet some cool people and play our live set in some incredible venues. Special mention to Dixmontel who put on an amazing festival out in the French countryside and were very hospitable. We’ve just released a more dance-orientated EP called ‘Overgrown Echos’ on UK record label On Rotation, run by our good friends Chris I'Anson, Adam Pits & Lisene. The last live show for the year will be in Perth for Freedom Time Festival on NYE and other than that, we’re going to focus on some quality studio sessions in 2024 and hopefully release an album.